The MetaSpeed Digital Servo System controls film speed and scanning size perfectly. It is simply the best in the world. Note that film speed is accurate to .001 seconds!

Cropped Image directly from scannerto show level of scanning detail.

The image above shows how the film is scanned. The entire frame is visible, along with framelines and sprocket holes. This is important since the frame size on your film can vary based on the variation of gate size of your camera. We deliver the maximum amount of the picture based on the image size of your film. The sprocket holes and frame lines are removed before the film isdelivered to the client.

This means you can see more of your movies and more of your picture is brought to life during scanning. Other transfer methods may crop out a significant portion of the original film image.

The film's speed is regulated by the MetaSpeed Digital Servo System. This system is simply the best in the world. It maintains film speed with accuracy of .001 second. Any film speed is possible.

There is no hot projector bulb in the machine, and there is no starting and stopping film on each frame like a projector. Your film will scan with perfect continuous movement. Just like the physical movement of video or audio tape.

Even bad splices run through without damage. There is no pressure plate that can scratch yourfilm, a constant risk with film projectors and frame by frame machines. And with our optics, wehave brought the machines to the cutting edge of film scanning.

In the image below, yellow squares point out detail that would not be visible in competitor scans.This film frame is from 8mm film that was scanned at 3K for 1080p output & then substantially cropped for the website to show the fine level of detail that is possible with our custom scanners.

This level of film scanning quality has never been available before to the average consumer.

Here you can see that we can scan the entire film frame.

We have designed & manufactured optical film gates to achieve this. Our High Definition Optics allow us to zoom in on the images. Film edges & sprocket holes will not be present in your transfer

Our high dynamic imaging sensor allows us to capture the full spectrum of color. This means that the faces of the people under the shadow of the street car can still be seen in detail, even as we capture the brilliant red and yellow tones of the streetcar itself.

The ProRes 4:2:2 .mov format provides easy to use files with visibly lossless compression.This means that the beautiful details the we captured while transferring your filmaren't lost once we record to your hard drive.

It means that you can be confident that we are getting the most out of your film.

Our goal in integrating these elements into our transfer method is to make the highest qualityimages possible. With our transfer service, your images will have improved sharpness without distortion, with grain and noise reduction. Your pictures will have no or very minimal crushedblacks or clipped whites, and they will have vibrant color saturation when possible.

We aim to create transfers that are archive-quality that will stand the test of time and that will holdup when viewed on large High Definition TVs and monitors.

"Thank you for reminding me of the 'good old days.'"- Lisa G.East Taunton, MA

In this picture you can easily see the film grain. This is not a bad thing.Film grain is the basic structure of film. It is what gives film texture.When you can see individual film grain, scanning is at, or above, the maximum resolution of the film.

Our DVDs and Blu-rays are REGION FREE an will play on computers in any country.

Customers outside North America will need DVD's and Blu-rays formatted to PAL frame rates to play on their domestic DVD players.

What are the benefits to scanningwith MyMovieTransfer.com?

What does this all mean to me?

THE BASICS

All film that we transfer is scanned on highly modified Ultra-High Definition Rank-Cintel scanners.

HIGH DEFINITION OPTICS

Developed in-house, our High Definition Optics are yet another addition to our defining superior edge over other transfer sites.

Our optics exceed the resolution of even the best 8mm or 16mm films. This is important because the 8mm Film is so small. For example, a 64-inch television screen is 68,000 times larger than an individual 8mm Film frame. Any optical errors, produced through other methods, will be multiplied, taking away from the quality of your pictures. With our method, you can be confident that the films we transfer for you will be as good as possible.

When we transfer film, we scan the entire film frame. We then center the image to ensure that sprocket holes and frame lines will not be seen in the finished project. We are able to do this with our High Definition Optics and our custom designed film gates. This allows us to see problemswith your film outside of the active image area and take corrective action. For example we cansee the condition of damaged sprocket holes as we scan. We can also determine if a hair is onthe film or was in the original camera as we scan.

OVERSAMPLING:

Oversampling is at the core to our scanning process. Depending on your film format, we scan anywhere from 2-6 times higher resolution than 1080p – and down-convert within the scanner to your desired resolution. This creates a better image that lookstruer to the original film.

So oversampling initially captures 2-6 times higher resolution images than just scanning at 1080p. While the film is at this much higher resolution color correction is performed by one of our experienced colorists. This color correction also benefits from the initial higher resolution and uncompressed data at this point.

Shrinking the larger original will have more inherent quality then simply duplicating a picture of the same size. This is the same principle that occurs when a larger image is reduced to a smaller one on a computer screen. Often times the smaller imagesimply looks better.

So where other companies might scan in 1080p High Definition – or worse, they might up-convert from a lower resolution – we scan at a much higher resolution and pass those benefits on to you.

GREATER DYNAMIC RANGE

Any given frame will contain a multitude of colors, from the darkest blacks to the brightest white. Werefer to the spectrum of color and brightness as dynamic range.

Scanning film usually means sacrificing one end of the spectrum for the other. For example, if a colorist is scanning a 16mm scene involving two people - one in the bright sun and the other under the shade of a tree – heor she will have to chose whichperson to transfer with full detail.

By scanning with our extremely high dynamic imaging sensor, we eliminate that choice. Both people in the scene will be transferred as they are in the film. The details that are captured on the film – the nuances of a person's face, their hair, their clothes – will be transferred. This is the same for color. Our imaging sensor allows us to recreate the colors that remain true to how they were shot.

It is important to understand that original photography and film condition also play an important role in your film transfer. Simply stated, better film in, better film out. All scenes go through brightness and gamma correction. Color correction is not scene by scene at this price point.

SMARTER COMPRESSION

High Definition video in its raw form produces extremely large very difficult to work with files. Massive amounts of storage are necessary to hold raw HD video files, and even a very expensive computer with high processing speeds would struggle to play it back. HD video must therefore undergo a process called compression. Compressing video essentially means shrinking data without removing the image content of a file. This is why you can take a video file that takes up 40GB on a hard drive and record it to a DVD that can only hold 4GB.

Not all compression is of equal quality.

A video can be compressed in several ways. One of the ways is by reducing the quality of the image. This type of compression is referred to as “lossy.” When put to a split screen, the lossy compressed file is easily distinguished from the uncompressed file. The compressed file is peppered with visual defects. We avoid these methods by converting your films to ProRes 4:2:2 .mov files. Our compression is visually lossless, meaning the difference between the raw file andthe compressed file is imperceptible.

ProRes 4:2:2 is simply a smarter format for video transfer. The files have a large data rate without grinding your computer to a halt. They also hold steady without degrading like most other file formats. When you edit with other files by, say, adding titles, your editing program will uncompress your video in order to add the title, and then re-compress your video. With a lossy compressed file, this means an image that is already defective will be taken apart only to have its quality lowered again when it is put back together. A useful analogy would be to imagine making a photocopy. The first photocopy might have unwanted black spots or uneven shading. If you make anotherduplicate from that photocopy, the result will look even further from the original. You can see thisin video if you look at a low quality streaming video. Videos that occasionally have large,block-like pixels have been uncompressed and re-compressed several times over.

ProRes files, on the other hand, were designed to maintain image quality over at least 9generations of compression. They will have a much smaller initial quality dip once re-compressed for the first time. After that first recompression, their quality will remain unchanged as youre-compress them, meaning they will look substantially better when recorded to DVD or Blu-Ray,or loaded on YouTube or Vimeo.

ZERO PULLDOWN

Film and video playback in different ways.

Back when your film was shot, the camera operator had the option of recording at 16 frames per second, 18 fps, or 24 fps, all video must playback at 30 or 60 fps. In order to accommodate video playback, additional film frames are created to playback in 30 or 60 fps. Since 18 frames don't convert evenly into 30 frames, the added frames are interspersed sporadically. These added frames should only be added in the last step of playbackor DVD/BluRay creation. The extra frames should not be addedin the film transfer.

If you go to alter the film's playback at all by speeding it up or slowing it down, the film will not play evenly.

Our files have no pulldown added. This means that you canadjust the speed without altering playback. It also means thatyour files won't contain unnecessary data from artificiallycreated redundant frames, so your files will be smaller andeasier to work with without any loss of visual quality.

Zero pulldown means that there is a perfect 1 film frame to one electronic frame relationship on the recorded digital file.

These scanners are running the latest 2017 software, have new Germanoptical components, and a new state of the art imaging block operating a resolution that greatly exceeds your film's resolution.The scanner resolution has been increased by 2400% from it's original design!These are the same machines that Hollywood has trusted with their features, and we use them on your priceless films. All film is monitored by our highly skilled colorists. Where some companies charge a premium for a colorists- monitored scan, we know this should be included. The colorist will adjust for color and brightness to ensure that we are getting the most out of your films.